Book Size: Standard Portrait 8x10
Place a background image
This is the first printable page in your book and will print on the right side.
These instructions should not appear in your exported pdf. Please be sure to complete your Pages design prior to creating your Cover template. The Page Count must be exact when creating your Cover template.. You’ll need to upload a PDF for the pages and at least one cover type.
SKETCHBOOK
Remember, all books must be an even number of pages. The first page will be on the right side as you open the cover and the last page will be on the left side as you close the book. Hardcover books include an end sheet on both the front and back of the inside pages for binding purposes. Please note, all critical text and art should appear within this gray area. Any content outside this area may be unevenly trimmed or hidden by the gutter when the book is bound. If you would like your artwork to extend to the very edge of your finished book then pull your artwork edge to the red bleed line.
Be sure to review your exported PDF in an outside program (like Adobe Reader) to ensure it appears correctly and without these instructions. Further info can be found at: http://www.blurb.com/apps/indesign-plugin
CONTENTS // 4
INTRODUCTION
6
WEEK ONE // ALGORITHMIC SKETCHING
10
WEEK TWO // IMAGE SAMPLER & LAYERING
13
WEEK THREE // GENERATIVE PATTERN
14
WEEK FOUR // CREATING GRIDSHELLS
16
WEEK FIVE // VOUSSOIR CLOUD
20
WEEK SIX // REVERSE ENGINEERING
22
WEEK SEVEN // PATTERN WEAVING
24
WEEK EIGHT // PROTOTYPE MODULE ITERATIONS
28
WEEK NINE // LADYBUG SUN-PATH ANALYSIS
30
WEEK TEN // LADYBUG HEAT MAP ANALYSIS
32
WEEK ELEVEN // FINAL MODULE ITERATION
36
WEEK TWELVE // IMAGE SAMPLING HEAT MAP
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INTRODUCTION Currently a third year student pursuing studies in the Bachelor of Environments and majoring in Architecture at the University of Melbourne. Architecture to me is a fusion of both the artistic expression and functionality; where its form and narrative is boundless. I consider it as a visual art for the architect to relay their story and purpose for society and environment.
RAYYAN A. ROSLAN SINGAPORE // MELBOURNE
UNIVERSITY OF MELBOURNE BACHELOR OF ENVIRONMENTS (ARCHITECTURE)
PHOTOSHOP INDESIGN AUTOCAD RHINO GRASSHOPPER
Growing up in the ‘Garden City’ of Singapore, I was constantly surrounded by the infinite growth of buildings with its own unique aesthetic forms and expressions. A hobby of sketching landscapes and buildings begins at an early age, which develops into a strong passion for the built environment as I have always been fascinated by the notion of turning ‘paper architecture’ into reality. I was fortunate to be exposed to different cultures and environments as I moved to Melbourne at the age of 15. The experience allows me to appreciate a diverse group of society as well as a vast ideology and concept of the built environment outside my hometown. I completed VCE in Werribee Secondary College and selected an architectural subject scheme which progressively leads me to embark my journey towards the goal of becoming an architect. My experience with digital design tools begins in university as I experimented with CAD programs which I developed the skills over time. Being used with hand drawings made it difficult for me to grasp the techniques of computer drafting initially. However, I gained confidence through design studio modules in the second year where I find it efficient to express myself better through CAD as it allows multiple invention of our own conceptual ideas with accuracy of functional structure and complex forms. Technology has infact progressed tremendously over time and computer aided drafting allows designers and architects to move a step forward in generating design ideas efficiently for the purpose of improving our built environment. By this, I would like to take the opportunity in design Studio Air module to improve my skills in digital design tools and to expand my knowledge of different computational methods in my journey of learning architecture, translating my passion into the reality of designing for the environment.
4
DESIGNING ENVIRONMENTS, YEAR 2, 2016. CONCRETE LAWN PAVILION.
DESIGN STUDIO: WATER, YEAR 2, 2016. LEARNING FROM THE MASTER: ALVARO SIZA.
5
WEEK 01
ALGORITHMIC SKETCHING
LOFTING & STATE CAPTURE PERSPECTIVE
ELEVATION VIEW
PLAN VIEW
6
ALGORITHMIC SKETCHING
Experimenting with the components introduced to create loft surfaces and state capture. Instead of creating curves on Rhino, Points were generated in Grasshopper and controlled with number slider along a curve which is then moved based on the vector directions. This exercise is also an attempt to create variable tiles within a dimension of 200x200mm for a responsive skin facade where its curvature of form may change or spread the flow of wind direction on the windward side.
CONTROLLING POINTS &
LOFTING
CONTROLLING
GENERATING CURVES
SURFACE
THICKNESS
ALGORITHMIC SKETCHING
7
TRIANGULATION ALGORITHMS VORONOI
VORONOI 3D
8
ALGORITHMIC SKETCHING
GENERATING POINTS
VORONOI
CONTROLLING THICKNESS
Generating patterns within a set geometry. Size of pattern voids can be controlled via points and number sliders. Challenges faced in this exercise is the depth or thickness of different patterns which must be experimented further in order to create a skin where light entering certain pattern void may be controlled based on the size and depth.
CONTROLLING GEOMETRY
GENERATING POINTS
VORONOI 3D
Unlike the Voronoi component, Voronoi3D generates patterns within a 3 Dimensional geometry where its points can be controlled. Once baked, the forms can be abstracted by removing some surfaces. The size of voids depends on the controlled points. This skin may also create a light control effect based on the void size and depth
ALGORITHMIC SKETCHING
9
WEEK 02
IMAGE SAMPLER & LAYERING
IMAGE SAMPLER PERSPECTIVE
TOP VIEW
CONTOUR LAYERING
10
IMAGE SAMPLER & LAYERING
GENERATING POINTS &
IMAGE
CONTROLLING RADIUS
FILTERING CIRCLES AT
GRID SIZE CONTROL
SAMPLING
BASED ON IMAGE PIXEL
SET RADIUS
CONTROLLING SETS OF CONTOUR LINE
CONTROLLING CONTOUR THICKNESS
IMAGE SAMPLER & LAYERING
11
WEEK 03
GENERATIVE PATTERN
ISLAMIC PATTERN GENERATION
12
PATTERN 01
PATTERN 02
PATTERN 03
PATTERN 04
PATTERN EXPLORATION
Experimenting with algorithmic thinking in generating and composing different possible variation from a singular pattern at first. In this exercise, the task is to create different kinds of Islamic Patterns through this ideology.
GENERATING SINGULAR PATTERN WITH DIRECTIONS OF LINES WITHIN SET POINTS
ROTATE & MIRROR PATTERNS
CREATING A CONTROL POINT FOR PATTERN SETS AND SIZES
CONTROL POINT TO GENERATE VARIABLE PATTERNS
PATTERN EXPLORATION
13
WEEK 04
14
PATTERN EXPLORATION
CREATING GRIDSHELLS
CONTROLLING CURVE POINTS DIVISION OF POINTS ALONG A CURVE
SETTING CURVES TO PIPES CONTROLLING THICKNESS OF PIPE RADIUS
CONTROL POINTS FOR NUMBER OF DIVISIONS IN A CURVE
PATTERN EXPLORATION
15
SP ECIES 02
SPEC I ES 01
WEEK 05
16
VOUSSOIR CLOUD
ITERATIONS
01
APPLYING UNARY FORCE TOWARDS UNIT Z (Fz)
02
Fz = -6.00
Fz = -25.00
+ ADDING 5 DIFFERENT POINTS & MOVING THE ANCHOR POINTS TOWARDS UNIT Z (PT.1-5) 06
07
Fz = +25.00 PT.1 = +25 PT.2 = +6 PT.3 = 0 PT.4 = -25 PT.5 = -6
ITERATIONS
01
SETTING A CIRCULAR BOUNDARY & CHANGING VORONOI RADIUS (VR)
02
VR = 7 SC = 0.5
+ CHANGING THE SCALE (SC) & MOVING OF ALL ANCHOR POINTS TOWARDS UNIT Z (PTS)
Fz = +25.00 PT.1 = +10 PT.2 = 0 PT.3 = +5 PT.4 = 0 PT.5 = -10
06
VR = 11 SC = 0.5
07
+ APPLYING UNARY FORCE IN UNIT Z (Fz)
PATTERN EXPLORATION
SC = 0.15 PTS = -20 Fz = 13
SC = 0.15 PTS = -20 Fz = 13 Stiffness = 4
03
04
Fz = 0.00
08
05
Fz = +6.00
09
Fz = +25.00 PT.1 = -25 PT.2 = -10 PT.3 = -15 PT.4 = 0 PT.5 = -5
03
10
Fz = +1.00 PT.1 = +25 PT.2 = -10 PT.3 = +15 PT.4 = 0 PT.5 = +5
04
VR = 5 SC = 0.5
08
Fz = -5.00 PT.1 = +25 PT.2 = -10 PT.3 = +15 PT.4 = 0 PT.5 = +5
05
VR = 5 SC = 0.15 PTS = -20
09
SC = 0.15 PTS = +20 Fz = 13 Stiffness = 25
Fz = +25.00
VR = 7 SC = 0.15 PTS = -20
10
SC = 0.15 PTS = +20 Fz = 5 Stiffness = 25 Rest length = -2
MIRROR PATTERN EXPLORATION
17
VOUSSOIR CLOUD SCRIPT
Generating variation of forms from a script using KANGAROO PHYSICS plug-in. Unary Force is applied to the form of the Voussoir Cloud where the parameters are altered to create different forms & patterns. Points are added to the script to increase the number of columns & extrusions. Boundary is also altered to develop different forms from the original Voussoir Cloud formation.
18
PATTERN EXPLORATION
PATTERN EXPLORATION
19
WEEK 06
REVERSE ENGINEERING
5 CURVES
LOFT CURVES
DECONSTRUCT BREP
SELECTING TRIANGULAR FACE (LIST ITEM 1)
20
PATTERN EXPLORATION
CONVERTING INTO GEOMETRY
SET LINE IN TRIANGULAR FACE
SELECTING TRIANGULAR EDGES (LIST ITEM 2)
EVALUATION OF CURVES (3 POINTS)
ISOTRIM SUBSURFACE
AREA MIDPOINTS
Understanding the fundamentals and logic of the forms before generating a Grasshopper Script to develop and immitate similar structure of the DIGFABMTY 1.0.
MOVE POINTS
EXTRUDE POINTS DIVIDE DOMAIN
‘PANELS’ CONTROL
EVALUATE SURFACE
Lines were created using Grasshopper and lofting to generate the surface. Surface is then evaluated to form a number of pyramidal shapes which can be controlled.
WEAVE (LIST ITEM 1+2)
RULED SURFACE SET LINES TO TRIANGULAR FACE
JOIN ALL COMPONENTS (FINAL PROJECT)
These pyramidal shapes generated on the surface is then exploded to create perforations for natural light similar to the structure of DIGFABMTY 1.0 pavilion.
PATTERN EXPLORATION
21
WEEK 07
PATTERN WEAVING {0;0} {1;1} {0;1}
{0;0} {1;1} {0;1}
CR
22
PATTERN EXPLORATION
{0;0} {1;1} {0;2}
{0;0} {1;1}
REATING PATTERNS WITHIN A SPHERE WITH RELATIVE ITEM COMPONENT
CREATING PATTERNS WITHIN A SPHERE WITH RELATIVE ITEM COMPONENT
PATTERN EXPLORATION
23
WEEK 08
24
PATTERN EXPLORATION
PROTOTYPE MODULE ITERATIONS
PATTERN EXPLORATION
25
PROTOTYPE MODULE ITERATION SCRIPT
Generating variation of forms from a script created for the group’s prototype module. Physical model is based on the boundary of form-finding matrix as it is translated from digital design to fabrication techniques in creating the model. Parameters of Unary Forces, heights and perforation sizes are changed to achieve different outcomes in each iteration to push the design further to the limits.
26
PATTERN EXPLORATION
PATTERN EXPLORATION
27
WEEK 09
LADYBUG SUN-PATH ANALYSIS
WINTER SUMMER
S U M M E R 28
PATTERN EXPLORATION
W I N T E R
SITE ANALYSIS
Generating a sunpath diagram on a selected site to conduct an SOUTH-EAST analysis of sun movement and sunlight directions based on a specific timing and seasons in Melbourne.
SUM
ME
RS UN
An EPW file is imported into the Grasshopper script to define the timezone of Melbourne ensuring accuracy of design and analysis data. NORTH-WEST
W
IN
T
ER
SU
N
N
S
Sunlight Exposure Analysis Melbourne_VIC_AUS 1 JAN 1:00 - 31 DEC 24:00 PATTERN EXPLORATION
29
WEEK 10
NORTH-EAST
NORTH-WEST
SOUTH-WEST
Sunlight Exposure Analysis Melbourne_VIC_AUS 1 JAN 1:00 - 31 DEC 24:00
PATTERN EXPLORATION
S
E
N
W
FACADE ANALYSIS
30
SOUTH-EAST
EXPOSURE PERSPECTIVE
N
LADYBUG HEAT MAP ANALYSIS
Similar to sun-path analysis, LADYBUG plug-in is used to generate the solar irradiance map on a specific building or surface which can be defined by an input in the script. Surrounding building context that may block solar radiation acting on the selected building is also defined to an input in the script to ensure that the generated analysis data of the solar irradiance map is accurate. This can then be used as an image sampling to assign our selected modules accurately.
PATTERN EXPLORATION
31
WEEK 11
32
PATTERN EXPLORATION
FINAL MODULE ITERATION
PATTERN EXPLORATION
33
FINAL MODULE ITERATION SCRIPT
Generating variation of forms from a script created for the group’s final prototype module. KANGAROO plug-in is explored further by pushing the boundaries within the spring inputs. The idea is to simulate real time gravity force acting on the form which can be represented via analog fabrication processes. Form-finding process generates variation of forms to the modules which will be filtered based on the selection criteria mentioned in the Journal. 34
PATTERN EXPLORATION
PATTERN EXPLORATION
35
ALG O R IMAGE I T H M ISAMPLING C P R O CHEAT E S SMAP WEEK 12 C O M P U T A T I O N A L
HEXAGONAL GRIDS
D E S I G N
T E C H N I Q U E S
OFFSET HEXAGONS
APPLY IMAGE SAMPLING SUNLIGHT EXPOSURE ANALYSIS
SETTING NORTH FACADE IRRADIANCE MAP TO MONOCHROME FOR PIXEL ACCURACY
36
PATTERN EXPLORATION
SET BOUNDING BOX
MODULE 01
MODULE 02
MODULE 03
MODULE 04
Similar to REVERSE ENGINEERING, we have to understand the logic behind the structure of assigning our modules based on the solar radiant analysis conducted via LADYBUG.
FINAL DESIGN OUTCOME
ASSIGN MODULE PANELS TO SET BOUNDING BOX
With the analysis data generated, we converted the colour pixels to monochrome for a better accuracy of image sampling. With this image sample, we assigned bounding box to a specific modules and assigned them to its own specific coloured pixels. By this we can ensure that the modules are assigned accurately based on the level of solar intensity acting on the facade.
PATTERN EXPLORATION
37
IMAGE SAMPLING HEAT MAP SCRIPT
38
PATTERN EXPLORATION
Grasshopper script consisted of image sampling input, bounding box with modules assigned to each boxes which is joined together and assigned based on the range of pixels generated. PATTERN EXPLORATION
39
Book Size: Standard Portrait 8x10
Place a background image
This is the first printable page in your book and will print on the right side.
These instructions should not appear in your exported pdf. Please be sure to complete your Pages design prior to creating your Cover template. The Page Count must be exact when creating your Cover template.. You’ll need to upload a PDF for the pages and at least one cover type. Remember, all books must be an even number of pages. The first page will be on the right side as you open the cover and the last page will be on the left side as you close the book. Hardcover books include an end sheet on both the front and back of the inside pages for binding purposes. Please note, all critical text and art should appear within this gray area. Any content outside this area may be unevenly trimmed or hidden by the gutter when the book is bound. If you would like your artwork to extend to the very edge of your finished book then pull your artwork edge to the red bleed line.
Be sure to review your exported PDF in an outside program (like Adobe Reader) to ensure it appears correctly and without these instructions. Further info can be found at: http://www.blurb.com/apps/indesign-plugin 40
CONCEPTUALISATION